The heading of this last part has been borrowed from Philippe Decrauzat’s film – it is a reference to the strange addition this exhibition cycle is made up of and it points to film editing with its use of the conjunction “and”, which is found here and elswhere [2] throughout the program. A few second long, And to End takes up the final episode of Hans Richter’s 1947 Dreams that money can buy. It is made up of several shots showing a playing mat covered with chips that appear like random geometrical designs. With its jerky pulsating edit – some of its dazzling effects remind us of the Dream Machine concept initiated by Bryon Gyson and Ian Sommerville [3] – this 16mm film fully addresses the questions of rhythm, composition, image processing which are at the basis of collage in film, or more precisely of editing as Jean-Luc Godard defines it. InMontage, mon beau souci, the director describes editing as being an integral part of “mise-en-scene”. It is certainly about “mise-en-scène” or more exactly about “mise-en-exposition”, two notions that are examined as well in Sarah Crowner’s installation. Indeed, Curtain (Vidas Perfectas),challenges the theatrical dimension of a work through the intervention of a curtain specially created for the setting of Vidas Perfectas/Perfect Lives, a televisual comic opera on the theme of immortality and reincarnation staged by Robert Ashley in 1983. This backdrop is made up of “hard-edge” modernist paintings cut into several boards and put together with the help of a sewing machine. It isn’t the first time Sarah Crowners questions the story-telling potential of the device by directly exposing some elements from the setting: in the frame of her exhibition Ballet plastique[4], she had built a stage on which visitors had to climb in order to be able to look at the paintings - a pending scenography that naturally echoes with the platforms Claudia Wieser uses to set up her elements. These compositions scattered in the exhibit area, reinterpreting an art & crafts filiation, seem to be at the very limit between furniture, objects and fully-fledged sculptures. Furthermore, some of them contain spheres similar to the mobiles (by Calder) that the young girl handles in Narcissus, the last episode of Dreams that money can buy. Not all that surprising, since the references to Avant-garde and especially to Hans Richter’s circle are plenty in Claudia Wieser’s work. In this film, colour is associated with the idea of transformation and of splitting into two, the same way Nicolas Roggy advises in its set of “canvasses” [5]. This horizontal alignment has been designed as a series, or rather as an exercise in style in which each painting reflects in the next in order to reveal its multiple threads, backgrounds and flat areas of colour. Just by looking at these bevelled slices, one understands that this unfolding into time allows the paintings to transcend their original state in order to become concepts - composed objects that link [1] and create connections between the different screens and scopes [6], between the (altered) waves that ripple from one end to the other of this trilogy._

1. Here and Elsewhere is a film by Anne-Marie Miéville and Jean-Luc Gordard which symbolizes, already with its title, the idea of editing. 2. At the origin of the Dream Machine is an experience Brion Gysin had in 1958:“ I had a transcendental storm of colour visions today... We ran through a long avenue of trees and I closed my eyes against the setting sun. An overwhelming flood of intensely bright patterns in supernatural colours exploded behind my eyelids: a multidimensional kaleidoscope whirling out through space…” 3. Ballet Plastique, September 10 – November 12, 2011, Catherine Bastide gallery, Brussels. 4. The word is placed between inverted commas because they are not really canvasses, since the painting has been applied on PVC slabs. 5. The words screens and scopes are a reference to Philippe Decrauzat’s film Screen-o-scope (16mm, 2010, 4’15’’)